Saint Luke Drawing the Virgin (Wikipedia featured)
Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden.
《圣卢克画圣母》是一幅大型橡木板油画和蛋彩画，通常创作于 1435 年至 1440 年之间，作者为早期荷兰画家罗吉尔·范德韦登 (Rogier van der Weyden)。
Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus.
这幅作品收藏于波士顿美术博物馆，展示了艺术家的守护神、福音传道者路加正在描绘圣母玛利亚哺乳圣婴耶稣的情景。
The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape.
这些人物被放置在资产阶级的室内空间中，通向庭院、河流、城镇和风景。
The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.
封闭的花园、玛丽王座手臂上亚当和夏娃的幻觉雕刻以及圣路加的特征是这幅画的众多图像符号之一。
Van der Weyden was strongly influenced by Jan van Eyck, and the painting is very similar to the earlier Madonna of Chancellor Rolin, usually dated to around 1434, with significant differences.
范德韦登深受扬·凡·艾克的影响，这幅画与罗林总理的早期《圣母像》非常相似，通常可追溯到 1434 年左右，但有显着差异。
The figure's positioning and colourisation are reversed, and Luke takes centre stage; his face is accepted as van der Weyden's self-portrait.
人物的位置和色彩颠倒了，卢克占据了舞台中央；他的脸被认为是范德韦登的自画像。
Three near contemporary versions are in the Hermitage Museum, Saint Petersburg, the Alte Pinakothek, Munich, and the Groeningemuseum, Bruges.
三个近乎当代的版本现藏于圣彼得堡艾尔米塔什博物馆、慕尼黑老绘画陈列馆和布鲁日格罗宁根博物馆。
The Boston panel is widely considered the original from underdrawings that are both heavily reworked and absent in other versions.
波士顿面板被广泛认为是来自底图的原始面板，这些面板经过大量修改，并且在其他版本中没有出现。
It is in relatively poor condition, having suffered considerable damage, which remains despite extensive restoration and cleaning.
它的状况相对较差，遭受了相当大的损坏，尽管进行了广泛的修复和清理，但损坏仍然存在。
The painting's historical significance rests both on the skill behind the design and its merging of earthly and divine realms.
这幅画的历史意义不仅在于设计背后的技巧，还在于它对尘世与神圣领域的融合。
By positioning himself in the same space as the Madonna, and showing a painter in the act of portrayal, Van der Weyden brings to the fore the role of artistic creativity in 15th-century society.
通过将自己置于与麦当娜相同的空间，并展示画家的描绘行为，范德韦登凸显了艺术创造力在 15 世纪社会中的作用。
The panel became widely influential with near copies by the Master of the Legend of Saint Ursula and Hugo van der Goes.
该小组因圣厄休拉传奇大师和雨果·范德戈斯的近乎复制品而产生了广泛的影响。
There are no surviving contemporary archival documents for Rogier van der Weyden's Saint Luke Drawing the Virgin, but art historians agree that it was almost certainly painted for the Brussels painters' guild, for their chapel at the Church of St. Michael and St. Gudula (now the cathedral), where van der Weyden is buried.
罗吉尔·范德韦登的《圣卢克画圣母》没有现存的当代档案文件，但艺术史学家一致认为，这幅作品几乎可以肯定是为布鲁塞尔画家行会画的，为他们位于圣米迦勒和圣古都拉教堂（现为大教堂）的小教堂绘制，范德韦登就埋葬在那里。
It may have been commissioned to celebrate the artist's appointment as city painter for Brussels.
这幅画可能是为了庆祝这位艺术家被任命为布鲁塞尔城市画家而委托创作的。
Luke the Evangelist was thought to have been a portraitist, and Northern European painters' guilds were considered to be under his protection.
福音传道者卢克被认为是一位肖像画家，北欧画家行会被认为受到他的保护。
In the 15th-century images of Luke painting the Virgin were more commonly found in Northern rather than Italian art.
15 世纪路加所画的圣母像在北方艺术中比在意大利艺术中更常见。
Luke was credited with painting the original of the immensely popular Italo-Byzantine Cambrai Madonna, to which numerous miracles were attributed.
卢克被认为画出了广受欢迎的意大利拜占庭康布雷圣母像的原作，无数的奇迹都归功于它。
The original of that work was taken to France from Rome in 1440, and within four years at least 15 high quality copies had been made.
该作品的原件于 1440 年从罗马被带到法国，四年内至少制作了 15 份高质量的副本。
It was regarded as an example of St Luke's skill, and contemporary painters strove to emulate him in their depictions of Mary.
它被认为是圣卢克技巧的典范，当代画家在描绘玛丽时努力效仿他。
Popular belief held that the essence of the Virgin was captured in Luke's portrait of her.
人们普遍认为卢克的肖像捕捉到了圣母的本质。
Van der Weyden closely follows van Eyck's c.
范德韦登紧随范艾克的c。
1435 Madonna of Chancellor Rolin, though there are significant differences.
1435年罗林总理的麦当娜，虽然有显着的差异。
The landscape in the van der Weyden is less detailed, and its top gives less of an illusion of openness than van Eyck's.
范德韦登的景观没有那么细致，其顶部也不像范艾克的那样给人一种开放的错觉。
The most obvious similarity is the two figures standing at a bridge, who may not carry specific identities; those in the van der Weyden are sometimes identified as Joachim and Anne, the Virgin's parents.
最明显的相似之处是站在桥上的两个人物，他们可能没有具体的身份；范德韦登的人有时被认为是圣母玛利亚的父母约阿希姆和安妮。
In van Eyck's painting the right hand figure wears a red turban, a motif widely accepted as that artist's indicator of a self-portrait; similar images can be found on the London Portrait of a Man and the reflection in the knight's shield in the Virgin and Child with Canon van der Paele, Bruges.
在凡·艾克的画作中，右手人物戴着红色头巾，这一主题被广泛接受为艺术家自画像的标志；类似的图像可以在伦敦的《男人肖像》和布鲁日的卡农·范德帕尔的《圣母子》中骑士盾牌的倒影中找到。
Van der Weyden reverses the positioning of the main figures; the Virgin appears to the left, a positioning that became predominant in later Netherlandish diptychs.
范德韦登颠倒了主要人物的位置；圣母玛利亚出现在左边，这种位置在后来的荷兰双联画中占据主导地位。
The colours in this work are warmer than those in the van Eyck.
这幅作品的色彩比范艾克的色彩更温暖。
Van der Weyden switches the colours of their costumes; Luke is dressed in red or scarlet, Mary in the more typical warm blues.
范德韦登改变了他们服装的颜色；卢克穿着红色或猩红色的衣服，玛丽穿着更典型的暖蓝色衣服。
The Virgin type has further been changed, here she is depicted as a Maria Lactans ("Nursing Madonna").
处女类型进一步改变，在这里她被描绘成玛丽亚·拉克坦斯（“护理麦当娜”）。
This is one of the standard depictions of her, different from the Hodegetria (Our Lady of the Way, or She who points the way) Virgin type most usually associated with Byzantine and Northern 15th-century depictions of St Luke.
这是对她的标准描绘之一，不同于通常与拜占庭和北方 15 世纪对圣路加的描绘联系在一起的 Hodegetria（道路圣母，或指路的她）处女类型。
This depiction of Mary's motherhood stresses the "redemption of mankind by Christ as human ...
对玛利亚母性的描述强调了“基督作为人类对人类的救赎......”
[and] spiritual nourishing".
[和]精神滋养”。
The panel contains four individual pieces of oak, painted over a chalk ground bound with glue.
该面板包含四块独立的橡木，涂在粉笔地上，用胶水粘合。
The preparation wood is dated to around 1410, giving an estimated date for the Van der Weyden in the mid-1430s.
准备木材的年代可追溯到 1410 年左右，因此范德韦登的估计年代为 1430 年代中期。
The dominant pigments are lead white (often used in the panel to highlight blue and green passages), charcoal black, ultramarine, lead-tin-yellow, verdigris and red lake.
主要颜料是铅白（通常用于面板中以突出蓝色和绿色通道）、炭黑、群青、铅锡黄、铜绿和红湖。
There has been some discolouration – some greens are now brown, including pigments used to depict grass in the background.
出现了一些变色——一些绿色现在变成了棕色，包括用于描绘背景中草的颜料。
Mary sits under a brocade canopy or cloth of honour, painted in brown hues which have since discoloured to dark green.
玛丽坐在锦缎华盖或荣誉布下，上面涂有棕色色调，后来变色为深绿色。
The canopy hangs down to a wooden bench attached to the wall behind her.
天篷垂到她身后墙上的一张木凳上。
Mary's hair is loose and she wears an embroidered dress lined with fur.
玛丽的头发蓬松，穿着一件衬有毛皮的绣花连衣裙。
Around her neck is a light veil, and she is shown in the act of nursing.
她的脖子上戴着一层薄纱，展示了她正在哺乳的样子。
Her dress is a centrepiece of the panel, composed of a variety of blues overlaid with lead white and deep blue lapis lazuli highlights.
她的裙子是画面的核心，由各种蓝色组成，上面覆盖着铅白色和深蓝色的青金石亮点。
The inner parts of her robe contain violet coloured fabrics, lined with greyish blues and purples.
她长袍的内部采用紫罗兰色面料，内衬为灰蓝色和紫色。
Luke is positioned on a green cushion, between the heavenly figure and the small study behind him.
卢克坐在一个绿色的垫子上，位于天上的人物和他身后的小书房之间。
He is either rising from a kneeling position or about to genuflect.
他要么正从跪姿起身，要么即将跪下。
His eyes fix on her attentively, and he seems near hypnotised.
他的目光专注地注视着她，他似乎已经被催眠了。
Jesus is similarly transfixed.
耶稣也同样惊呆了。
Hall describes Luke's hands as floating before him, holding the tools "with the same delicacy that an angel might hold a lily or sceptre".
霍尔描述卢克的双手漂浮在他面前，“以天使握住百合花或权杖的方式优雅地握住工具”。
Mary has turned her face so that he can depict her in near full profile, a rare honour, while Luke's kneeling position is closely analogous to that of a typical donor portrait in the presence of the Virgin.
玛丽转过脸，以便他能够以近乎完整的侧面来描绘她，这是一种罕见的荣誉，而卢克的跪姿与圣母在场时的典型捐赠者肖像非常相似。
Luke is beardless and in his early 40s, close to van der Weyden's age in the mid-1430s.
卢克没有胡子，四十岁出头，接近 1430 年代中期范德韦登的年龄。
His face is not idealised; he is middle-aged with light stubble and greying hair.
他的脸并不理想化；他已是中年人，留着浅茬，头发已经花白。
The room behind him contains his attributes including an ox and an open book representing his Gospel.
他身后的房间里有他的属性，包括一头牛和一本代表他的福音的打开的书。
He is painted with more naturalism than Mary; his eyes in particular are more realistically drawn.
他的画比玛丽更加自然主义。尤其是他的眼睛画得更加真实。
Christ's conform to the then idealised form, as simple crescents.
基督的形状符合当时理想化的形式，如简单的新月。
Mary's are formed from curved lines typical of late Gothic ideals of feminine beauty.
玛丽的线条由典型的晚期哥特式女性美理想的曲线构成。
Compared to contemporary paintings of this type, the work is unusually free of inscriptions; they appear only on items in Luke's study, dimly perceived on his right: on a book, on an ink bottle, and on a scroll emanating from the mouth of his ox, beneath the small desk.
与当代此类绘画相比，该作品异常地没有铭文；它们只出现在卢克书房里的物品上，在他的右边依稀可见：一本书上，一个墨水瓶上，以及一张小桌子下面从他的牛嘴里吐出来的卷轴上。
The scene is set within a rather narrow interior space, with a barrel vault ceiling, patterned floor tilings, and stained glass windows.
场景设置在一个相当狭窄的内部空间内，有桶形拱顶天花板、带图案的地砖和彩色玻璃窗。
The outer wall opens to the midground, with a patch of grass and plants, and has a view of a river or inlet.
外墙通向中地，有一片草地和植物，可以看到河流或水湾的景色。
Art historian Jeffrey Chipps Smith notes how the transition between the grounds establishes a "complex spatial space in which [van der Weyden] achieved an almost seamless movement from the elaborate architecture of the main room to the garden and parapet of the middle ground to the urban and rural landscape behind".
艺术历史学家杰弗里·奇普斯·史密斯（Jeffrey Chipps Smith）指出，场地之间的过渡如何建立了一个“复杂的空间空间，其中[范德韦登]实现了从主房间的精致建筑到中间场地的花园和护栏到后面的城市和乡村景观的几乎无缝的运动”。
Two figures in the mid-ground stand at a battlement wall overlooking the water, their backs turned against the viewer, the male pointing outwards.
中景中的两个人物站在俯瞰水面的城垛墙上，他们背对着观众，男性指向外面。
They are framed by columns, and are looking towards the detailed city and landscape in the background.
它们由柱子构成，面向背景中详细的城市和景观。
The figures seem preoccupied with "looking", which Carol Purtle believes, to van der Weyden, was a form of devotionalism; through meditating on an image, the "beholder experienced visions of transports of ecstasy".
这些人物似乎全神贯注于“观看”，卡罗尔·普尔特尔认为，对范德韦登来说，这是一种虔诚的形式；通过对图像的冥想，“观看者体验到狂喜的幻象”。
Technical analysis shows that both figures were heavily reworked both in the underdrawing and the final painting; the hood of the figure on the right was originally red, but over-painted as black, amongst many other differences.
技术分析表明，这两个人物在底稿和最终绘画中都经过了大量修改； 右侧人物的兜帽原本是红色的，但除其他许多差异外，被涂成黑色。
The positioning of these figures closely resembles that of two persons depicted in the van Eyck panel.
这些人物的位置与范·艾克面板中描绘的两个人的位置非常相似。
In that painting the right-hand figure turns to face his companion, gesturing at him to look outwards.
在那幅画中，右边的人物转身面向他的同伴，示意他向外看。
In the van der Weyden, the equivalent figure seems protective of his friend, who here is female, while the left-hand figure in the earlier panel might represent a tribute to the artist's brother Hubert who had died in the 1420s.
在范德韦登 (van der Weyden) 中，同等的人物似乎是在保护他的朋友，这里的朋友是女性，而早期面板中的左侧人物可能代表了对艺术家于 1420 年代去世的兄弟休伯特 (Hubert) 的致敬。
A red headdress was an indicator of self-portraiture for van Eyck.
红色头饰是凡·艾克自画像的标志。
As in the van Eyck, the figures act as examples of repoussoir, in that they draw our attention to the picture's underlying theme – the painting's ability to visualize the infinity of the world in the landscape.
与凡·艾克的作品一样，这些人物充当了“reoussoir”的例子，因为它们将我们的注意力吸引到了这幅画的潜在主题——这幅画能够在风景中形象化世界的无限性。
The painting may allude to the concept of paragone; the man points to the landscape, perhaps highlighting the ability of painting, unlike sculpture, to supply its foreground with background.
这幅画可能暗示了“典范”的概念。男人指着风景，也许是在强调绘画与雕塑不同，它可以为前景提供背景。
Examination of the underdrawing shows that the artist intended a van Eyckian angel crowning the Virgin, but this was omitted from the final painting.
对底图的检查表明，艺术家想要画一个凡·艾克式的天使为圣母加冕，但最终的画作中省略了这一点。
He heavily reworked the positions of the three main figures even towards the end of completion.
即使在完成的最后阶段，他也对三个主要人物的位置进行了大量的修改。
The draperies of the mantles were at first larger.
地幔的帷幔起初更大。
Christ's body at first faced Luke, but was later tilted in the direction of his mother.
基督的身体起初面向路加，但后来又向他母亲的方向倾斜。
The mother and child were brought closer together.
母亲和孩子的距离越来越近。
Luke's head was at first level with the Virgin's, but in the final painting is raised slightly above.
卢克的头与圣母的头处于同一水平线上，但在最后一幅画中略高于圣母的头。
The differences extend beyond those in the foreground.
这些差异超出了前景的范围。
The fortifications of the inner courtyard have been enlarged, while the two figures looking out over the river were smaller, the river itself narrower.
内院的防御工事已经扩大，而俯瞰河流的两个人物则较小，河流本身也更窄。
Luke's face is widely considered to be a van der Weyden self-portrait.
卢克的脸被广泛认为是范德韦登的自画像。
He may have wanted to associate himself both with a saint and with the founder of painting.
他可能想将自己与圣人和绘画创始人联系起来。
This is reinforced by the fact that Luke is shown drawing in silverpoint on white paper; an extremely difficult medium that demands high concentration, and is normally used only for preparation.
卢克在白纸上用银尖笔画画这一事实进一步强化了这一点。一种极其困难的介质，需要高浓度，通常仅用于制备。
The artist is boldly emphasising his ability and skill with preparatory sketches; a single surviving silverpoint drawing attributed to van der Weyden, now in the Louvre, contains a female head very similar to Mary's in the Boston panel.
艺术家通过预备草图大胆地强调了他的能力和技巧；现存的一幅被认为是范德韦登所作的银尖绘画，现藏于卢浮宫，其中的女性头像与波士顿面板上玛丽的头像非常相似。
Van der Weyden appears intelligent and handsome, but weather-worn.
范德韦登看上去聪明又英俊，但饱经风霜。
He inserted a self-portrait into one other work; the lost Justice of Trajan and Herkinbald, known through a tapestry copy in the Historical Museum of Bern.
他在另一幅作品中插入了一幅自画像；失落的图拉真和赫金博尔德大法官，通过伯尔尼历史博物馆的挂毯副本得知。
Later northern artists followed his lead, using self-portraits in their own depictions of Luke.
后来的北方艺术家效仿他的做法，在自己对路加的描绘中使用了自画像。
What biographical details are available place the artist as a devout Catholic, deeply influenced by mystical and devotional texts, familiar with 12th and 13th century female theologians such as Mechthild of Magdeburg and Hildegard of Bingen.
从现有的传记细节来看，这位艺术家是一位虔诚的天主教徒，深受神秘和虔诚文本的影响，熟悉 12 世纪和 13 世纪的女性神学家，如马格德堡的梅赫蒂尔德和宾根的希尔德加德。
They believed that contemplating devotional images whilst meditating might lead to a vision or a state of ecstasy.
他们相信，在冥想时沉思虔诚的图像可能会导致幻象或狂喜的状态。
It is possible from these teachings that van der Weyden developed a set of devotional motifs such as The Magdalen Reading.
范德韦登有可能从这些教义中发展出一套虔诚的主题，例如《抹大拉的阅读》。
The importance of St Luke in Christian art is underscored in St Luke Painting the Virgin, while affirming "the role of art within the context of meditation and contemplation".
《圣路加画圣母》强调了圣路加在基督教艺术中的重要性，同时肯定了“艺术在冥想和沉思背景下的作用”。
The self-portraiture achieves a number of purposes.
自画像达到了许多目的。
It acts as a tribute to his own ability, as a measure of his skill against van Eyck, and as a case for the legitimacy of the craft of painting.
它是对他自己能力的致敬，是衡量他对抗凡·艾克的技巧的标准，也是绘画技艺合法性的一个例子。
By portraying himself as St Luke in the act of drawing rather than painting, De Vries believes van der Weyden reveals an "artistic consciousness by commenting upon artistic traditions and by doing so presents a visual argument for the role and function of the artist and his art, one at that time still predominantly religiously defined".
德弗里斯认为，通过在绘画而不是绘画的行为中将自己描绘成圣卢克，范德韦登揭示了一种“通过评论艺术传统的艺术意识，并通过这样做为艺术家及其艺术的角色和功能提供了视觉论证，当时仍然主要由宗教定义”。
Smith describes the panel as an "exposition of the art of painting", observing that van der Weyden records the essential skills any successful artist should master while claiming to be an heir to St Luke.
史密斯将这个小组描述为“绘画艺术的阐述”，并观察到范德韦登记录了任何成功的艺术家在声称自己是圣卢克的继承人时应该掌握的基本技能。
He works in silverpoint – and thus is unencumbered with the paraphernalia of painting; an easel, seat or other items which might clutter the composition, or more importantly place a physical barrier between the divine and earthly realms.
他用银尖笔作画，因此不受绘画用具的束缚。画架、座位或其他可能使构图混乱的物品，或更重要的是在神圣和尘世领域之间设置物理屏障。
The painting is rich in both actual and implied iconography.
这幅画具有丰富的实际和暗示的图像。
Van der Weyden presents Mary as the Maria Lactans virgin type, a symbol of "Mother Church" especially popular at times of plague or famine, the implication being that she cares for all and no one will go hungry.
范德韦登将玛丽描绘成玛丽亚·拉克塔斯处女类型，这是“母教会”的象征，在瘟疫或饥荒时期特别受欢迎，暗示她关心所有人，没有人会挨饿。
This notion ties in with Luke's dual roles of physician (and thus healer) and artist.
这个概念与路加的医生（以及治疗师）和艺术家的双重角色联系在一起。
Van der Weyden had earlier portrayed Mary breast-feeding in his Virgin and Child Enthroned, which depicts equally detailed carvings carrying significance, but is reduced in size and in its cast of characters, and omits the act of beholding.
范德韦登早些时候在他的《圣母子登基》中描绘了玛丽哺乳的情景，该作品描绘了同样具有重要意义的细致雕刻，但缩小了尺寸和人物阵容，并省略了观看的行为。
The architecture of the enclosed space suggests a church.
封闭空间的建筑风格让人联想到一座教堂。
The Virgin sits beneath a canopy, perhaps symbolic of the sacred space, and the spatial separation between the celebrant and the congregation, usually by a Rood screen.
圣母坐在华盖下，这也许象征着神圣的空间，以及主礼者和会众之间的空间分隔，通常是通过圣像屏风。
The small room to the right could symbolize the vesting chamber.
右边的小房间可以象征归属室。
The arms of her throne are painted as carved with figures including Adam, Eve and the serpent before the fall from Paradise.
她宝座的扶手上雕刻着亚当、夏娃和从天堂堕落前的蛇等人物。
The room faces towards an enclosed garden, another emblem of the Virgin's chastity.
房间面向一个封闭的花园，这是圣母贞洁的另一个象征。
Though Mary is positioned by a throne and under a canopy, indicating her role as Queen of Heaven, she sits on the step, an indication of her humility.
虽然玛丽位于宝座旁和华盖下，表明她作为天后的角色，但她坐在台阶上，表明她的谦卑。
The Virgin occupies an earthly space as opposed to a sacred one, but remains aloof.
圣母占据了尘世的空间，而不是神圣的空间，但仍然保持冷漠。
This approach is emphasised by secondary midground figures who are out in the open air, while the main figures are positioned in an elevated room containing a throne, grand arches and wood carvings.
露天的次要中景人物强调了这种方法，而主要人物则位于一个高架的房间里，里面有王座、宏伟的拱门和木雕。
Van der Weyden's setting is less artificial than van Eyck's; here Luke and Mary face each other as equals, rather than in van Eyck's painting where, as Blum describes "a divinity and a mortal" face one another.
范德韦登的设定不像范艾克的那样矫揉造作。在这里，卢克和玛丽平等地面对面，而不是在凡·艾克的画作中，正如布鲁姆描述的那样，“神与凡人”面对面。
Van der Weyden omits the winged angel holding a crown hovering above the Virgin; the figure was included in the underdrawings, but eventually abandoned.
范德韦登省略了手持王冠盘旋在圣母上方的带翅膀的天使；该图曾包含在底图中，但最终被放弃。
The landscape is more secular than van Eyck's, which is dominated by church spires.
这里的风景比范艾克的风景更加世俗，后者以教堂尖顶为主。
In the late-13th century, many of the newly emerging painter's guilds were nominating Luke as their patron saint.
13世纪末，许多新兴的画家行会都提名卢克为他们的守护神。
The van der Weyden panel is among the first known depictions of St Luke painting the Virgin in Northern Renaissance art, along with a similar work, a lost triptych panel by Robert Campin.
范德韦登画板是北方文艺复兴时期艺术中最早已知的圣路加画圣母像的画作之一，还有一件类似的作品，即罗伯特·坎平 (Robert Campin) 创作的一幅失落的三联画画板。
Van der Weyden presents a humanised Virgin and Child, as suggested by the realistic contemporary surroundings, the lack of halos, and the intimate spatial construction.
范德韦登呈现了一个人性化的圣母子，正如现实的当代环境、缺乏光环和亲密的空间结构所暗示的那样。
Yet he infuses the panel with extensive religious iconography.
然而他在面板上注入了大量的宗教图像。
During the 19th century the painting was at times associated with Quentin Massys and Hugo van der Goes.
在 19 世纪，这幅画有时与昆汀·马西斯 (Quentin Masssys) 和雨果·范德戈斯 (Hugo van der Goes) 联系在一起。
In the early 1930s, based on X-radiographs, art historian Alan Burroughs attributed the Boston painting to Dieric Bouts "under the supervision" of van der Weyden.
20 世纪 30 年代初期，艺术历史学家艾伦·巴勒斯 (Alan Burroughs) 根据 X 射线照片，将这幅《波士顿》画作归因于迪里克·布茨 (Dieric Bouts) “在范德韦登 (van der Weyden) 的监督下”创作。
He later revised his opinion to van der Weyden, but art historians remained unsure as to which of the four panel versions was the original or prime version and which were copies.
他后来向范德韦登修正了自己的观点，但艺术史学家仍然不确定四个面板版本中哪个是原始版本或原始版本，哪个是复制品。
Infrared reflectography has revealed underdrawing in the Boston version which contains heavy redrafting and re-working.
红外反射成像揭示了波士顿版本的绘图不足，其中包含大量的重新起草和返工。
This is absent in the other versions, strong evidence the Boston panel is prime.
这在其他版本中是不存在的，有力地证明了波士顿小组是主要的。
The approach to the underdrawing is very similar to the paintings where attribution to van der Weyden is established, such as the Descent from the Cross in Madrid, and the Miraflores Altarpiece in Berlin.
底画的方法与范德韦登的作品非常相似，例如马德里的《十字架的下降》和柏林的米拉弗洛雷斯祭坛画。
They are built up with brush and ink, with the most attention given to the outlines of the figures and draperies.
它们是用笔墨构建的，最注重人物和帷幔的轮廓。
Hatching is used to indicate areas of deep shadow.
阴影线用于指示深阴影区域。
In each, the underdrawing is a working sketch, subject to constant revisions, which continued even after painting had begun.
在每幅作品中，底图都是工作草图，需要不断修改，甚至在绘画开始后仍在继续。
The drawing of Mary is similar to the Louvre's silverpoint drawing of 1464 attributed to his circle.
玛丽的画与 1464 年卢浮宫的银尖画相似，归因于他的圆圈。
Both are of a type van der Weyden was preoccupied with, showing "an ongoing refinement and emphasis on [Mary's] youthfulness ...
两者都是范德韦登所关注的类型，表现出“对[玛丽]青春的持续改进和强调......
[which is] traceable throughout his work".
[这]可以追溯到他的整个作品中”。
Art historians gradually revised their dating from 1450 to the currently accepted 1435–40, earlier in the artist's career.
艺术史学家逐渐将其年代从 1450 年修正为目前公认的 1435-40 年，即艺术家职业生涯的早期。
This estimate is based on three factors; the dating of the Rolin Madonna, van der Weyden's opportunity of viewing that panel, and his ability to produce his own work after such a viewing.
这一估计基于三个因素；罗林·麦当娜 (Rolin Madonna) 的年代、范德韦登 (van der Weyden) 观看该面板的机会，以及他在观看后创作自己作品的能力。
He is known to have visited Brussels – where van Eyck kept his studio – in 1432 and again 1435.
据了解，他曾于 1432 年和 1435 年访问过布鲁塞尔——凡·艾克的工作室就在那里。
Erwin Panofsky suggested c.
埃尔文·潘诺夫斯基建议c。
1434 as the earliest possible date, and that the Rolin panel was completed in 1433 or 1434.
1434 年为最早可能的日期，罗林面板于 1433 年或 1434 年完成。
Julius Held was sceptical of this early dating, noting that if true we are "forced to assume that within one year of Jan's work Rogier received a commission which gave him an opportunity to adopt Jan's compositional pattern while subjecting it at the same time to a very thorough and highly personal transformation, and all this in Bruges, under Jan's very eyes".
朱利叶斯·赫尔德对这种早期的约会表示怀疑，并指出，如果属实，我们“被迫假设，在扬的工作一年内，罗吉尔收到了一份委托，这使他有机会采用扬的作曲模式，同时对其进行非常彻底和高度个人化的转变，而这一切都在布鲁日，在扬的亲眼目睹下”。
Held, as a lone voice and writing in 1955, argues for a date between 1440 and 1443, seeing the work as more advanced than other paintings by the artist from the mid-1430s, and believes it contains "considerable differences" when compared to other early works, especially the Annunciation Triptych of c.
赫尔德在 1955 年以孤独的声音和写作，认为该作品的创作时间在 1440 年至 1443 年之间，认为该作品比 1430 年代中期艺术家的其他画作更先进，并认为与其他早期作品（尤其是大约 1430 年代的《天使报喜三联画》）相比，它包含“相当大的差异”。
1434.
1434.
He further observes that although the painting became highly influential, copies did not appear until the mid-century.
他进一步观察到，尽管这幅画影响很大，但直到本世纪中叶才出现复制品。
Dendrochronological examination of the growth rings in the panel's wood suggests that the timber was felled around 1410.
对面板木材年轮的树木年代学检查表明，木材是在 1410 年左右砍伐的。
In the 15th century, wood was typically stored for around 20 years before use in panel painting, giving an earliest date in the mid to late 1430s.
在 15 世纪，木材在用于面板绘画之前通常会储存大约 20 年，最早的日期是 1430 年代中后期。
Analysis of the Munich version places it in the 1480s, around 20 years after van der Weyden's death.
对慕尼黑版本的分析将其置于 1480 年代，即范德韦登去世后大约 20 年。
The panel in Bruges is in the best condition and of exceptional quality, but dates from c.
布鲁日的面板状况最好，品质卓越，但其历史可追溯至公元 100 年。
1491–1510.
1491–1510。
Despite the eminence of the painting and its many copies, little is known of its provenance before the 19th century.
尽管这幅画享有盛誉并有许多复制品，但人们对其 19 世纪之前的出处知之甚少。
It seems likely that it is the painting Albrecht Dürer mentions in his diary recollection of his visit to the Low Countries in 1520.
阿尔布雷希特·丢勒 (Albrecht Dürer) 在回忆 1520 年访问低地国家的日记中提到的这幅画很可能就是这幅画。
It is probably the same work recorded in a 1574 inventory of Philip II, kept at the Escorial.
这可能与保存在埃斯科里亚尔的菲利普二世 1574 年库存中记录的作品相同。
The painting is recorded in 1835 in the collection of Don Infante Sebastián Gabriel Borbón y Braganza, a grandnephew of Charles III of Spain and himself an artist.
这幅画于 1835 年被西班牙查理三世的侄孙唐·因方特·塞巴斯蒂安·加布里埃尔·博尔邦·布拉干萨 (Don Infante Sebastián Gabriel Borbón y Braganza) 收藏，他本人也是一位艺术家。
Gabriel's inventory notes described the panel in detail, attributed it to Lucas van Leyden, and suggested an earlier restoration.
加布里埃尔的库存记录详细描述了该面板，将其归因于卢卡斯·范莱登，并建议尽早修复。
It was donated to the Museum of Fine Arts in 1893 by Henry Lee Higginson after his purchase at a New York auction in 1889.
亨利·李·希金森 (Henry Lee Higginson) 于 1889 年在纽约拍卖会上购买了这幅画，并于 1893 年将其捐赠给了美术博物馆。
Photographs from 1914 show it in an ornate, decorative frame which is probably the same as in Gabriel's 1835 description.
1914 年的照片显示它装在一个华丽的装饰框架中，这可能与加布里埃尔 1835 年的描述相同。
The panel is in poor condition, with substantial damage to its frame and surface, despite at least four restorations.
尽管至少进行了四次修复，但该面板的状况很差，其框架和表面严重损坏。
The earliest recorded restoration was in 1893, the year it was acquired by the Museum of Fine Arts, but there are no surviving records of the treatment.
最早的修复记录是在 1893 年，即当年它被美术博物馆收购，但没有现存的处理记录。
In the early 1930s, the museum's curator of paintings, Philip Henry, described the painting as an original van der Weyden, but gave the opinion that its poor condition was hindering wider acceptance of the attribution.
20 世纪 30 年代初，该博物馆的画作馆长菲利普·亨利 (Philip Henry) 将这幅画描述为范德韦登的原作，但认为其状况不佳阻碍了该画作的更广泛接受。
On this basis, it was sent to Germany in 1932 to undergo conservation.
在此基础上，于1932年被送往德国进行保护。
The effort was led by the restorer Helmut Ruhemann, who described the panel as "structurally sound", and removed layers of discoloured varnish and "crude overpainting", while filling in some areas of paint loss.
这项工作由修复师赫尔穆特·鲁赫曼 (Helmut Ruhemann) 领导，他形容该面板“结构健全”，并去除了褪色的清漆层和“粗糙的覆盖层”，同时填补了一些油漆损失的区域。
Ruhemann believed he had found evidence of at least two major 19th-century restorations, one of which was probably that carried out in Boston in 1893.
鲁赫曼相信他已经发现了至少两次 19 世纪重大修复的证据，其中之一可能是 1893 年在波士顿进行的修复。
Ruhemann's cleaning and restoration was widely praised, and contributed to the acceptance of the panel as the original by van der Weyden.
鲁赫曼的清洁和修复工作受到广泛好评，并促使范德韦登接受该面板为原作。
The MFA undertook a third restoration in 1943, when some yellowing of the glaze was repaired.
1943年，外交部进行了第三次修复，修复了部分泛黄的釉面。
Most recently, the painting was cleaned in 1980 when small amounts of grime were removed, some losses were filled in, and a light coat of varnish was applied.
最近一次，这幅画于 1980 年进行了清洁，去除了少量污垢，填补了一些损失，并涂上了一层薄薄的清漆。
If the painting was in the Guild of Saint Luke's chapel in Brussels, then many near-contemporary artists would have been able to view it.
如果这幅画位于布鲁塞尔的圣卢克公会教堂，那么许多近乎当代的艺术家都可以看到它。
Van der Weyden's interpretation was hugely influential during the mid-15th and early-16th centuries, both in free and faithful adaptations and copies, examples of which are in Brussels, Kassel, Valladolid and Barcelona.
范德韦登的诠释在 15 世纪中叶和 16 世纪早期产生了巨大影响，无论是在自由和忠实的改编还是复制品中，布鲁塞尔、卡塞尔、巴利亚多利德和巴塞罗那都是例子。
This reflects its quality, and the fact that he presents an ideal image of an artist as a self-portrait, legitimising and elevating the trade.
这反映了它的质量，以及他将艺术家的理想形象呈现为自画像的事实，使这一行业合法化并得到提升。
Also influential was his Madonna type, which he used again for the c.
同样有影响力的是他的麦当娜风格，他在 c 中再次使用了这种风格。
1450 Diptych of Jean de Gros.
1450 年让·德格罗的双联画。
That painting features a 'Virgin and Child' wing directly modelled on his St Luke panel, extending the devotional aspect to include a donor who appears in the same panel with her.
这幅画的特点是“圣母子”翼直接模仿了他的圣卢克面板，将虔诚的方面扩展到包括与她出现在同一面板中的捐赠者。
In combining the patron with the Virgin, the "artist has made that personal devotion an integral part of the image".
在将赞助人与圣母结合在一起时，“艺术家使个人奉献成为图像的一个组成部分”。
Depictions of Luke drawing the Virgin rose in popularity in the mid-to-late 15th century, with van der Weyden's panel the earliest known from the Low Countries – Campin's earlier treatment was by then lost.
路加描绘圣母的描绘在 15 世纪中后期开始流行，其中范德韦登的画作是已知最早来自低地国家的画作——坎平早期的画作当时已失传。
Most were free copies (adaptations) of van der Weyden's design.
大多数是范德韦登设计的免费副本（改编）。
The anonymous painter known as the Master of the Legend of St. Ursula incorporated the Maria Lactans type for his Virgin and Child, now in New York.
这位被称为圣乌苏拉传奇大师的匿名画家在他的《圣母子》中融入了玛丽亚·拉克坦斯类型，现在在纽约。
Other artists producing works directly influenced by van der Weyden's portrait include Hugo van der Goes, Dieric Bouts, Derick Baegert and Jan Gossaert.
其他创作直接受范德韦登肖像影响的艺术家包括雨果·范德戈斯、迪里克·布茨、德里克·贝格特和扬·戈萨尔特。
Some artists copied van der Weyden by placing their own likeness in place of St Luke, notably Simon Marmion and Maarten van Heemskerck.
一些艺术家通过将自己的肖像代替圣卢克来复制范德韦登，特别是西蒙·马米恩和马丁·范·海姆斯凯克。
By representing themselves as Luke, artists implied a depiction of the Virgin based on first hand contact and thus giving her true likeness.
通过将自己描绘成卢克，艺术家们暗示了基于第一手接触的圣母玛利亚的描绘，从而赋予了她真实的肖像。
Van der Goes's is the earliest extant autographed version, and one of the most important.
范德戈斯的版本是现存最早的亲笔签名版本，也是最重要的版本之一。
This panel was originally a diptych wing of which the accompanying panel of the Virgin and Child is lost, and was probably made for a guild.
该面板最初是双联画的侧翼，其中附带的圣母子面板已丢失，可能是为行会制作的。
Luke is dressed in a heavy red robe, draws a preparatory sketch in silverpoint, and wears a melancholy expression.
路克身着厚重的红色长袍，用银尖笔画着草图，表情忧郁。
Building on van der Weyden's theme of the role, practice and craft of an artist, van der Goes places pieces of charcoal, a knife and the feathers of a small bird in front of the saint.
以范德韦登关于艺术家的角色、实践和工艺的主题为基础，范德戈斯在圣人面前放置了木炭、一把刀和一只小鸟的羽毛。
The similarities to the van der Weyden are many and striking, and include the painting utensils, red robes, physician's cap and blue mantle.
与范德韦登有很多惊人的相似之处，包括绘画用具、红色长袍、医生帽和蓝色斗篷。
The figure has the same middle-aged facial type and his pose, kneeling on a green cushion, although reversed compared to van der Weyden's, is the same.
该人物有着相同的中年脸型，跪在绿色垫子上的姿势虽然与范德韦登的姿势相反，但也是一样的。
Van der Goes's adaption both increased van der Weyden's standing in the eyes of the later artist's followers, and led to a new group of copies that were modelled on the later painting.
范德戈斯的改编既提高了范德韦登在后来艺术家追随者眼中的地位，又催生了一组以后来的绘画为蓝本的新复制品。
A tapestry version woven in Brussels c.
布鲁塞尔编织的挂毯版本。
1500 is now in the Louvre.
1500现藏于卢浮宫。
It was probably designed using a reversed drawing of the painting.
大概是根据这幅画的反转图来设计的。
List of works by Rogier van der Weyden
罗吉尔·范德韦登的作品列表
Saint Luke Drawing the Virgin, Museum of Fine Arts, Boston
圣卢克画圣母，波士顿美术博物馆